Review by Felix on January 1, 2023.

Yes, I have seen the very high average for this album. Nevertheless, “Orgasmatron”, this seems pretty clear to me, is definitely no spectacular album and, honestly speaking, with the exception of the irresistible drive of “Ace of Spades” (the song), Motörhead has never been a spectacular band. But firstly, it’s the 28th of December and therefore I feel the duty to upload another Motörhead review nobody has been waiting for. And secondly, life itself also does not hold a lot of spectacular moments. Therefore, Lemmy’s gang was always authentic and down-to-earth and this is probably of higher importance than any kind of spectacular song experiences.

“Orgasmatron” delivers some leisurely rocking tracks. Frankly, the only songs I really liked back in the speed-thrashing eighties were “Claw” and “Riding with the Driver”. Here the four-piece (!) does not hesitate, the tunes go straight ahead and both choruses have a raw yet catchy touch. It took me some time that almost every song scores with a solid degree of catchiness. But do not get me wrong, catchiness was not the most important feature for me back in the golden decade of (thrash) metal. Drunken by the violence and precision of acoustic riots like “Bonded by Blood” or “Hell Awaits”, a song like the powerless “Built for Speed” was nothing but music for old men (unbelievable, but I was just 18 years old) and “Deaf Forever” marked a decent but lame opener. Motörhead had been the epitome of antisocial brutality just a few years ago, now they were a toothless tiger, overran by the thrash hordes from the Bay Area, Germany and so on.

Today I still think that there is no basis to call “Orgasmatron” an underrated classic. Some of its pieces lack energy and dynamic. But I have better understood the special charm of Lemmy (R.I.P.) and his comrades. If I disregard the idea of competition for the hardest record in the world, Motörhead’s work from 1986 holds a collection of solid-to-good tracks. “Mean Machine”, for example, gives you a proper does of aggression and velocity, “Ain’t My Crime” makes you sit up and take notice thanks to a good flow and the title track (Lemmy: this is a song about the three things I hate most - religion, politics, war) delivers the entire portfolio of wickedness. Our icon’s usually monotonous voice expresses an enormous portion of cynicism and contempt with the consequence that the sinisterly stomping hymn to evil has become a little classic.

Finally, the production lacks pressure. It puts the focus on Lemmy’s voice (strange decision, haha), while the instrumental section sounds almost blurred. I miss sharp guitars and thundering drums. Maybe it is easier to like the production and the entire album if one has discovered it some years after its release, because the work sounded antiquated right from the beginning. In 1986, Motörhead looked like a fossil from the metallic Stone Age. At least, Lemmy had not lost his inner compass and therefore “Orgasmatron” is no outstanding, but an honest work.

Rating: 7 out of 10

Review by Jacobo on February 13, 2005.

In the last few years there has been resurgence in old-school sounding metal projects, be it thrash, speed, or death. Demonoid play old-school death/thrash combined with some modern day metal elements. Three members of the band, Kristian Niemann, Johan Niemann and Christopher Johnsson come from the well-established Therion. The fourth, Richard Evensand, is the ex-drummer of Soilwork and the explosive Chimaira.

Let’s get to the point: Does Demonoid´s debut run through your head like a freakin’ bulldozer? Yes – and resulting in major damage. Riders of the Apocalypse has got to be one of the best death/thrash CD’s released not only this year, but in the last decade. It is fast, intelligent, fast, heavy, fast, technical, fast and originally fresh.

One could say that Riders of the Apocalypse is the follow-up to the mighty Ho Drakon Ho Megas, released by Therion in 1993. It could have been the bridge between this record and Lepaca Kliffoth, Therion´s best release. ROTA dabbles in some experimentation and little pieces of melody, but in the end it is still an all-out death/thrash attack that shows no compromise.

On this record, Christopher Johnsson delivers his best vocal performance ever. He has the deep, death growls and the screechy, blacker ones as well. Some thought he had forgotten to growl with the direction of latter day Therion, but this proves that notion wrong. The Niemann brothers do an amazing job behind their axes and Richard Evensand proves that he is one of the most entertaining drummers. Production-wise, if you liked the sounds on Therion´s latest double CD, you will love this, it’s exactly the same.

The first three tracks, “Wargods,” “Firestorms” and “Witchburners” show no mercy, leaving no one standing. The fourth song, “The 14th plague,” is the darkest and doomiest song on Demonoid´s debut. All tracks are real killers except, “The Evocation.” It’s not bad, but it surely doesn’t live up to the level of the other compositions. The other tracks are so good, “The Evocation” could be called the album filler. Riders of the Apocalypse is that good.

This CD stands above all the crap that has been released lately in every single metal genre. I hope we have more of the same from Demonoid in the future. I would even advise the Therion gang to stop doing their symphonic crap and focus on this assassin – metal as true and powerful as it can get!

Categorical Rating Breakdown

Musicianship: 10
Atmosphere: 8
Production: 9
Originality: 8
Overall: 9

Rating: 8.8 of 10